David Paul Seymour

Speaking with David was a very insightful and enlightening interview. His story, career path and perspective are inspiring and impressive. On first glance, David's artwork is strong, powerful and mythical not to mention a little bad ass. He's a metal head to my hippie-esque self, so I wondered where this interview would go and honestly it really was a benchmark for me. I learned that David and I had a lot in common and shared a similar perspective. On top of that his timeline is a great life lesson for those looking to launch their own business, are a cross road life path or even a struggling artist - you can do it and on your own terms.

It's not easy, but David is a real life example of hard work paying off and being able to find a great work life balance without compromising your craft. Hope you enjoy the interview as much as I did and take something positive away from it.

16oz. Canvas - AJK: So how did you start getting into artwork? My assumption assuming from your bio, you’re an 80s kind of punk and metal guy so I think, you know, did it evolve from your love of the music kind of just trying to get into it or what’s your background, man?

David: Yeah, I mean more or less, I was in some bands myself when I was younger and so being a visual artist as well, you know, I started doing a lot of artwork for, you know, obviously my own bands but the band around my local team and doing show fliers and cassette covers, seven inch record covers that kind of thing. So, kind of got into it as a teenager and -- all of the guys in the band would try to think funky, cheap ways to make our own t-shirts and that kind of thing. So, I was doing artwork for that. Time went on, I got a -- I’ve always had a love of art, I didn’t go to school for art, my parents kind of drilled into me like oh artists don’t make money, and so you need to come up with a better game plan, do something creatively that you can make money at and so I settled on architecture actually. I had a love and passion for that and that’s actually what I went to school and got my degree in and I did that for about 20+ years actually and somewhere along the lines, said you know I’m making a pretty good living here doing this stuff. I’d like to do some artwork for bands, you know, I’m not in bands anymore once I started having kids, I got out of that. And so I said hey, I’m going to do some for fun on the side. I know I’m not going to make money because bands don’t have any money to spend --

16oz. Canvas - AJK: Yeah.

David: And the funny thing is I was completely dead wrong because I would end eventually making my whole living out of it and that’s what I’m doing today. So, it’s really cool because I’m still a viable part of the music scene, the music that I like to listen to personally and yeah so I got laid off in 2009 when the economy tanked and everybody else was getting laid off and all that. I started doing some freelance work and doing some illustration work for freelancing for Best Buy, Target, people like that and yeah I went pretty good, but even that kind of dried up a lot of people I worked for, for those companies got laid off and I did go back to work in architecture for a brief three-year period again and at that time, things continued to grow and I was just about doubling my income, just doing it a few hours at night at the dining room table. And when I got laid off the second time, my wife said, you know, I said, well I guess I need to dust the resume off and get my ass out there and find a new job and surprisingly to me my wife was like, why? This seems to be going really well, why don’t you just keep on doing it? I was like, fuck yeah. So, it was a surprise to me, for most wives -- many guys’ wives won’t be supportive for things like that, especially when you got three kids. So, yeah, I just kept on going and I’ve been doing it now for few years just as a full time gig and it’s really paid off I mean I do really well and I’m fortunate that way, but I feel like I paid my dues and worked to get there.

16oz. Canvas - AJK: Right. I think that’s a great story and the hard work -- I think parents, I know how I feel about my kids, you’re kind of torn it’s like okay, you want your kids to be happy but you also want them to have the lights on, but you kind of able to do the best of both worlds. I think that’s encouraging for others who kind of had that - a lot of people gets at that crossroad where it’s really the time you had to put at ahead of time to get to that point and it’s not always the easiest. So, that’s amazing, I mean that’s really great to hear.

David: Yeah.

16oz. Canvas - AJK: And architecture in a way, I mean it’s very artistic, there’s obviously some work - probably not as “creative” as you might like but of the corporate gigs that’s pretty good, you’re creating something unique or a need for an area or community.

David: Yeah, it’s a very creative thing, as a matter of fact, I’m originally from Mississippi on the Gulf Coast and I got accepted to the architecture school in Minneapolis, Minnesota where I live now and it was the best thing that ever happened to me because most people have the conception of architecture as -- it’s a very like suit-tie profession and in some places it is that way, I was lucky enough to work for a bunch of guys, few firms, who they were completely opposite of that, very, very creative types when I went to school for architecture, it really opened my mind up for a lot more creativity than I could have ever had, had I just drew and did the things as an actual artist. I mean those guys operate on a very high level of creativity and thinking and it instilled a lot of that into me.

And then I recently did a thing at my son’s school where they had me come in for this career day deal and I talked to all these kids and I was telling them about I’m an artist and I own my own business and I said, I make my own time and I do my own thing. I literally don’t have anyone really telling me what to do and when to do it and that is not for everyone, it sounds great but it takes a lot of discipline and a lot of business savvy and a lot of good communication skills, good client skills and all that. And had I not been in architecture, I wouldn’t have learned those things and I’d probably be an utter failure, it would never work. And that’s why I see a lot of people who are in my industry who don’t make it, because they didn’t get that sort of business side of things and billing and clients and meetings and making people happy and not getting so emotionally invested in a project that you can’t kind of step out of the bubble and say hey, what this person is saying and what they want, I got to put everything that I want aside and give them what they want.

So, it trained me to take a lot of lumps, I get bands and even Burial all the time saying, oh I’m really sorry I hate to kill this idea you have or this certain direction that you want to go in, but we’re not feeling it. And there’s a lot of artist who kind of get temperamental about that kind of response and I just don’t because that’s so drilled into my head to run counter to that. So, I mean you’re a product of your life story, your biography and mine worked out really great for me in that way because I did learn all that business stuff and learned how to work with people. So, it is a good story for me and definitely turned out really nice.

16oz. Canvas - AJK: Yeah, I think what you said is great because a lot of people who are good artists or good musicians, the reality is there’s a backend to it, the business, and I used to manage some bands and I was -- I’m not a musician, I can play CD player, I did some radio, I knew that that wasn’t my calling but I came from the business background and so we had a kind of -- we both filled that gap for each other I was able to book the gigs and look at the routing, what kind of upfront we would get versus backend type of things and it worked pretty well because they’re great musicians but they couldn’t -- they didn’t have that business savvy to them. And they really didn't want that, I mean that’s a whole other discussion but I think that what you’re saying is accurate, now that you have a great craft that you’ve mastered, but being able to look at things from a deadline perspective and take feedback positively, obviously, you have your film and your show that you do, your radio program. So, there you’re able to kind of be judge and jury, but for commissions and other type of work, it has to be collaborative and that’s not always easy to do.

David: Right. Right. That’s exactly right.

16oz. Canvas - AJK: So, tell me, you working on a film and also you have an animated short I was able to find and learn some information about. How was the evolution to that point?

David: Growing up I had this kind of bucket list in my head I guess of things that I’ve always kind of wanted to do, whether they were successful or not, things I wanted to try and being a DJ for a radio show was one and so checked that off. I grew up as a big cartoon kid, big Saturday morning cartoon kid and always wanted to pair the art that I was doing with, that kind of project and I met my Riff Lodge animation partner, Tim Granda who’s at Michigan. I met him several years ago, he does interviews with artists that he likes for a site called Doom Cycle and he asked me for an interview, we did it and we wind up doing a little animated thing that he did for the promo of the interview like he did in those days for all those interviews. And we had a good time doing that and then I don’t know it was kind of somewhere in that timeframe we were talking one day and we were talking about his skills in animating and my skills in drawing and we were talking about the classic film Heavy Metal from the 80s and how much we loved it as kids growing up and how we’d like to do something like that. And I told him I got an actual story this treatment that I wrote for a story that I did a couple of years prior to that and I said, man I think it would be a great fit to do full length thing. We kind of laughed, that’d be cool if we could do it, but I don’t know, and I said well, the idea was well pairing animation and art with heavy music and I said well, I’m friends with all these bands, I work for all these bands let me reach out, see if anyone’s interested. And we were kind of like well, if someone’s interested that would be cool and everyone I asked was like just oh god yeah, and we’d love to be a part of that and obviously I knew I couldn’t do all the drawing myself for a feature length films so and I really didn’t want to, we wanted to have this kind of mixed chapter by chapter change of both music and visuals.

So, I reached out to a bunch of artists and everyone we reached out to from the talent to the sponsors to our recent kick-starter success I mean it’s just been that, it’s been a monstrous success. Everyone just instantly got it and everyone just instantly saw its potential for success and so far it’s been that. So, we are still like in kind of pre-production mode, we’re actually still trying to rope the rest of some of the bands into completing their music so that the artist can get started. And so we’ve got some songs in the can probably about three quarters of them and the artists who are paired with those bands, chapters are off and running, doing artwork now. It’s a lengthy process. I mean my role other than being the writer of the film is being art and creative director for the film. So, I kind of deal with the bands and artists on a day-to-day basis and my partner Tim Granda is the animator and director of the film. And so he’s kind of busy off actually making the film and I’m busy being the animal handler for all the talent. So, that’s kind of how that is. I’m also an artist on one of the chapters but that’s a pretty small role consideration of my bigger roles I guess. So, it’s called The Planet of Doom and it’s going to be probably about an hour and 15-20 minute feature length animated film and we’re planning on going on as big as we can with it, it’s not going to be just some DVDs we hawk around. We’ve got some interesting doing-up, film festivals and kind of like Comic-Con type things and we’re going to go all the way with it, distribution, anything, independent theatre screening, everything you could imagine from I guess from an independently produced film. So, we’re really excited about it and like I said, the response has been overwhelming and I think that it’s going to be a big thing.

16oz. Canvas - AJK: That’s great. I mean it just seems like you keep -- I’d like to know what else is on that bucket list because you keep kind of going for it, and it seems to be coming up aces pretty great. So, that’s really great to hear and I think what you were saying about the business aspect, sounds like as well as being an artist on the project, you get to herd the cats so to speak so I think that puts at to good use trying to get everybody on their timelines and working together. So, it just seems like a building process.

David: Yeah, yeah. And it’s been a complex one but it’s been a lot of fun. I’ve never managed so much stuff in my life, all the way around, but even just getting into the -- zooming in on just the film I mean there’s a lot obviously to manage there too. So, yeah, I feel like the guy with the spinning plates but I’m doing it so far, but yeah. I used to just get involved with way too much stuff and it would just be kind of failure because it was just too much and too varied, I’ve kept it pretty tight. So, I mean, three legs of a table so I got the art I do, the movie and the radio show and that’s really it. And honestly I’ve pretty much checked off my bucket list, I’m pretty content. So, I’ve spend the rest of my time with my wife and kids and I had somebody I know and asked me one time, not that long ago they were saying, they were talking about their hobbies and whatnot and getting into this and that and talking about that, well I’m actually pretty good. I actually get to make my living doing my hobbies. So, when I’m done for the day man I like to go outside and enjoy the outdoors or just put my feet up with the beer and enjoy the company with my wife and go outside with my kids. And also I’m lucky somehow I’m able to do all this shit and still knock off at 4 o’clock every day and have the weekends off, very rarely have to put in any extra time on that. So, I guess I’m doing pretty good.

16oz. Canvas - AJK: Yeah, it sounds like, that sounds pretty great to me. So, definitely the fact what you call “work” is something you love, I think that’s something that a lot of people might be envious of but I think that’s inspiring especially in this day and age, I mean I think there is no better time to be an independent artist or whatever that medium is than 20 years ago, distribution and accessibility and social, I think it’s really now more than ever, it really allows people to take some more chances and not have to be constricted to the traditional outputs.

David: Yeah, absolutely. That’s exactly what it is, I mean we live in a time where it’s possible. I wouldn’t be sitting where I was if this was even 10 years ago and everything played out exactly right for me. Going back again to that career day thing I was telling to those kids, honestly, whatever it is it doesn’t have to be even a creative type of job, there’s so many freelancing or consulting opportunities for almost any field that you want to go in, but you got to have that discipline and you got to have that self-management, you got to know how to run a business to pull it off, and there’s not many -- honestly not really many people who are wired to do it, at least without training of some kind so I told them all, even if you want to do that I recommend do go work for somebody and work for them for five years minimum, 10 maybe even and then go off on your own and do your own thing because you’ll be well equipped.

16oz. Canvas - AJK: Right. Yeah I think of process and I think how you see things to say what you like and dislike, if you just -- if you have a blank slate, then it’s hard to have a comparison point to what’s best or what you like and don’t like . I had a period of time working from home and it was initially good but over time, it was -- there was interaction that was missing. So, had to really make myself be leave the house more and try to be more in front of people for that collaboration, not all the time but I learned my thresholds. I probably can do three days a week and two in an office in a more collaborative setting. So, I definitely agree.

16oz. Canvas - AJK: So, how does a guy in Minnesota come to team up with Burial down in North Carolina?

David: The guy who does, he’s like the head brew master Tim Gormley, he’s into heavy music and somewhere along the lines started following me on social media. And one day it was just like this flurry of activity, he commented on something I posted and tagged in the other two from the brewery, the other two owners Jess and Doug and said, this is the guy I was talking about. And you get a lot of comments and things when you get to where I’m at where sometimes it just escapes your radar but somehow it was like -- what’s that? I just happen to pick up on it, looked at them and realized that they were with a brewery and probably within the same day, I got either an email or a phone call or something from those guys and they wanted to go for it. And I tell people probably the -- and this is part of the answer to your question, I tell people that I’m really proud of being a part of Burial and their kind of unfolding of their legacy and history because those guys were strictly just a tap room when they first came around and when we got together they said, look, we got a loan, we’re looking to expand our operation, we’re going to start canning and bottling our beer. And we feel really confident about where we’re going, and I got onboard with the -- it’s one thing to come along or get picked up or whatever by somebody who’s already established and kind of has something going that is recognizable i.e. a brand in the public eye and then you got to fall into that and hopefully it’s a good fit. For us and for our relationship, it was exactly at a time where these guys were just about to take that turn on the flight of stairs and go up a whole 'nother level and I came along at a time where I’m proud that I really helped them to define what the look of Burial Beer is and I helped them with not just, hey here’s cool art for the can, here’s your check thank you, we’ll be in touch for the next one.

It’s been so much of a collaborative team family spirit kind of thing since day one and we worked together to establish what Burial’s brand looks like and I’m so proud of that and I got to tell you, I get so much I mean every day literally I get people either reaching out on social media or what have you, and say God we loved the artwork, we’ve never seen anything like this on a beer before. And it just feels great because I feel like hey, I’m not going to lie, if you’ve tasted it, you know, but their beer is -- it is flawless and even certain styles of beer that they do, that say my wife or I don’t care for, historically, we’ve tried and it’s just been wow, this is good, this is actually really good. Everything they do has my seal of approval personally so do couple something that’s already a tasty product with what I feel like is pretty revolutionary stuff on the can is just a great -- that’s a great thing to be a part of. And so, yeah I’m truly blessed that these guys came along and found me when they did and I found them and it’s just been such a great partnership, but that is how we got together and that’s how kind of things have gone over the last few years that I have been with them.

16oz. Canvas - AJK: That’s a great story and again, it shows the power of social and just people reaching and collaboration. Now what was the first can, do you remember the first can or label that you did for them was?

David: It would have to be the Scythe Rye Pale Ale or the -- was that an IPA, anyway, the Scythe it was either that one or the Skillet Donut Stout, it was one of those two for sure.

16oz. Canvas - AJK: And had you tried the beer before you done the artwork?

David: I had not, I had not and I’ll be honest, I still haven’t tried all their beers and with their distribution not reaching me, it’s tough for them and it’s a weird business thing to keep me plush with their product.

16oz. Canvas - AJK: Right.

David: Yeah. I do drink a lot

16oz. Canvas - AJK: Exactly yeah. I think they’re probably happy that you’re Minnesota right, otherwise you’d be coming by and having all of them.

David: Oh I’ve been -- for free beer all the time yeah.

16oz. Canvas - AJK: Yeah. You wife’s probably happy about that too, honey I worked out a deal, I get a couple of cases every but this is--

David: My wife is an avid beer drinker with me as well-- I’m lucky it was this woman I’m telling you but she enjoys it too and we have a lot of fun trying different beers and we get a little geeky about it but we enjoy, I’m not as snobby as most but we like trying different things and all that, but to answer your question, I hadn't tried it before I started drawing it, it actually didn’t come till a good bit later that actually got my lips around some of their beer. I’ve had several and man I’ve never been disappointed, it’s been great, but yeah.

16oz. Canvas - AJK: So, now from a process standpoint, how does that work with the brewery? Is it they give you notice on a beer that’s coming out, do you work on the name for the beer, how is that process?

David: So, I guess a typical project for those guys would be, you know, we’re at a point now where we have kind of one or two month calendar rolling at all times. It used to be a little more hit and miss in the early days just because those guys were really getting up and running, now they’re just at full ahead of steam. So, pretty much every week I get a brief from those guys like on a Monday or a Tuesday and things move pretty quick. I know it’s already on my calendar but I don’t have the brief, I don’t really have the art direction so to speak until the week of and the email would come across my desk and it will say - OK it’s this beer, this is the name, this is all the stats. This is the style and then they give me the art direction and that’s from week to week it could be the art direction is -- we have zero idea, go for it.

And some weeks it will be, we got such a strong vision, here’s our idea and sometimes, Jess and Doug the owners they’re a married couple, they are a huge into sort of medieval era, I guess it is, I don’t know when people like Bosch and all those classic painters were around doing their thing, I’m actually the most ignorant artist as far as other artists and art but they’re really into that kind of stuff and they even reference sometimes painting, but the name of the beer is even based off on the name of one of those classic paintings and they’ll send that to me and the idea is to riff off that painting. So, that’s one way, like I said, it would be either no idea at all from them or really heavy idea from them, may be something in between, loose idea, but open -- it’s always up to my interpretation or it’s -- we’re going to do another kind of riff on a classic painting, usually those are for the bomber bottles, the single label thing and it just kind of goes from there. I start, I dive in, I start gathering reference materials and sketching and then I send that those sketches over to them and sometimes it’s a slam dunk, and it’s like go ahead go for it, it’s fully approved and sometimes it’s close, but we need to make some tweaks like any other creative process.

So, it’s like that and by the time I get that intel in my inbox Monday or Tuesday, we’re wrapped up, done and they got a file for me that literally could go right to the cans by the end of the week, this time on a Friday, actually just finished something up for them yesterday that’s already done this week. So, it goes like that and it moves really fast and the turnaround on it is incredible at least for me. So, it’s very quick creative process and then execution is also pretty quick. And part of that too, the concepts Burial not only our aesthetic but they’re kind of I guess thematic philosophy if you want to call it, it’s about sort of life and death, dark and light, good and evil, yin and yang kind of thing and that was something from the very beginning, we came up with this cool idea to do two actual individual pieces of artwork for each can for their 16 and 12 ounce cans where you’ve got on one side we call it the dark side and one side we call it the light side. So, with any given beer, or any given theme, you’ve got those two yin and yang pieces and so part of my job is to not only come up with a piece of art, but to come up with two and have those be counter to each other and if you look at any of the cans with the two art on either side, that’s the thought process going into that week or that particular can. And so, we did that from day one and that’s kind of been really fun way to approach each can, each time.

16oz. Canvas - AJK: I definitely noticed the duality of it, the kind of two pieces especially the front and back it’s kind of almost where does this start, where does it end, where’s the beginning type thing. Yeah, I think it has a very mythical aspect to it with the imagery and it’s very apparent the themes of life and death with the skeletons, the skulls and has that throwback too with the swords and that, it’s just great to hear. You described it much better than I’d be able to so I do appreciate you. I’ve always -- I wondered about that, I guess there’s some, I don’t get as many of their can cans, I’m always checking out what they’re doing online and just to see some of the work, it was definitely, it was great to be able to track you down and try to learn more about your process. Now one other question which I was curious about, recently, Burial did some collaboration with Other Half and how is that process? Is there kind of somebody who gets the -- is it a shared art direction or is it just a hybrid approach? How is that working with other artists?

Diamond Mausoleum collaboration with Other Half

David: The collaborations that we’ve done, we’ve actually been getting into more of those with several other breweries and I’d say in the last quarter of last year and now, it seems like almost every other or every few projects are for a collaboration with another brewery, and those have been a lot of fun because, we sort of step outside of our box a lot and we kind of keep what we call the Burial look, distinctive from the collaborative cans. And although it’s me doing the artwork, it’s still a different feel to it, a different approach to it and usually the collaborations we do what I would call the Burial, and actually I don’t know and I don’t think, I don’t know any recent collaborations done by any other artist or me, it seems like, usually when Burial gets on one of these or whatever, they kind of take -- I think there’s probably a couple others out there with the other breweries that may be done by somebody else, but as far as process goes, it’s still very similar to when we’re doing our own thing, but like I said, the designing part and the themes and the outcomes is usually pretty different than what we do for our regular thing and usually we don’t do the two sides, we just do the one piece of art.

And like for Diamond Mausoleum we did one -- and then the other one again we did with them for the Left My Wallet, I don’t know if you’ve seen that, but usually it’s just the one side, but the process I would say is very similar, the info still comes across my desk on Monday or Tuesday and I sketch up what I think is a good idea and we tag along and then it gets going. The only difference usually is that those obviously brings the other brewer in on it during the sketching phase and then for approval. So it’s kind of like a two part approvals versus you just -- I’d say otherwise it’s pretty much the same. It allows us like, we do more fun with things with the title of the beer on the packaging, our stuff traditionally all has that sort of -- ribbon work with the title on it whereas when we’re doing a collaboration with somebody else, we don’t use the ribbon at all and kind of like geeky little perceptible things like that and most people probably I don’t know may be they aren’t paying attention to, but yeah, I mean it’s pretty similar I guess, similar, but different.

16oz. Canvas - AJK: No it’s great, I like that there’s very Burial specific things, like they’re subtle but it’s -- at the end of the day, it’s really great branding to have that consistency but then be unique across the different beers. So, I like that with the collaborations that you bring some of it, but it’s not just a Burial only can, or bottle so that’s really smart.

David: Yeah.

16oz. Canvas - AJK: All right. In my former life, I was a DJ so I did some radio work, what’s the -- I can’t say that we can riff on metal bands, but what other metal bands or go-tos or what are you listening to when you’re creating?

David: When I’m creating artwork, is that what you’re saying?

16oz. Canvas - AJK: Yeah, you like a music while you’re a working guy, or do you kind of have like--

David: Oh yeah, my wife it drives her nuts a few times when she’s here and I’m working because I can’t do -- I can’t even wash dishes without music. I’m pretty much 24x7 music if I can get away with it. Usually when I’m working on a project for work, I usually try to obviously listen to whoever it is that I’m drawing for. It’s a little harder to do now with the radio show because I basically spend my entire 8 or 9 hours of work day trolling the internet for new music I mean, the big thing with my show is that it’s called out the newest and freshest heavy music that’s coming out around the globe. So, I’m not playing Motley Crue and Slayer and stuff like that and I have a tendency to really pay more attention to very independent or smaller bands, I’m not playing Metallica, even if they come out with a new album, I’m not really picking up on that. I’m really kind of -- I think people like the show because they’re like every week they tune in, they’re hearing something probably something they’ve never heard before or heard of that band before.

So, I’m serving as a conduit for these independent bands a lot of who I do work for to get in other people’s spaces and so, usually when I’m working I’m listening to just all kind of new stuff, the newer the better and I kind of spend Monday through Wednesday just combing the internet while I work, just listening to tunes and then I got a log book I keep where I just kind of -- that's a killer tune and I write down that and keep that. And then Thursday I plug in a playlist and Friday like today just before you called I taped the episode for Sunday and it’s kind of how it works and the rest of the time I’m just listening to whatever I want. I listen to couple of friends’ podcast, that kind of thing. It’s kind of gotten me out of being that 43 year old guy who’s still sitting around listening to the same shit that he listened to when he was in his twenties, whatever, you know, like everybody I know, and I get people over at the house all the time and we get talking about the radio show and we’ll inevitably wind up shooting pool and drinking beer and we’ll put on Pandora and it’s cycling through all the old stuff and they’re like, oh man, it’s so heaven -- they don’t make anything like this anymore. I wish they still had bands this good, I'm like dude, you're a fucking idiot man, I kind of razz them. I’m like you need to check out my show because literally I could do probably an 8 hour show a week and not -- I’ve got such a mountain of songs that it kills me every week to have to choose, there’s that much good stuff.

I mean we live at a time right now where you were talking about the social media and the internet and it’s repercussions today, it’s like man, there’s so much good music out there and you don’t have actual radio or MTV or those kinds of major label push, PR or whatever covering anything really. I mean the whole genre niche and everybody's got their niche and that’s what they’re into and that’s what they listen to and it’s kind of a beautiful thing because you don’t really have to sit through crap you don’t like to get to the stuff you do and you don’t have to rely on the old -- somebody else selecting your playlist anymore, you can find this stuff in a thousand different places and it’s kind of cool, but it’s given these guys who are small guys or even medium sized guys an opportunity to just kind of be all over the place and I think it’s a great time to be a fan of music whatever the genre is.

16oz. Canvas - AJK: I agree. There’s always a way to get it out there I mean and I think even just simply technology which you and I can remember the days of dial-up, just having bandwidth the idea that -- I was in college, I would go to class all day and I’d queue up a couple of songs to download and hope that this site was reputable and it wasn’t some shitty version of it and come back six hours later and have two songs that were three minutes to listen to.

David: Oh yeah man.

16oz. Canvas - AJK: Or making a mix tape which our kids would always think was crazy, listen to the radio hoping that you have a blank tape ready to go at that moment to record that one song that you wanted to hear. And so even just logistically it is pretty amazing.

To conclude, Where can folks check out your show, where would they hear that?

David: It streams -- every new episode streams live on Sundays 1 PM, 9 PM and 11 PM Eastern Standard Time on trendkillradio.com. And then you can find all the episodes as podcasts archived at mixcloud.com/sonictemple so the show is called Sonic Temple.

16oz. Canvas - AJK: Excellent. I appreciate your time today Dave, it was really insightful and I think it’s -- especially if you’re an artist you’re listening to, I think it’s an inspiring story and something we’re really proud of. You’re doing some great work and you’re doing it on your own terms which I think is pretty amazing.

David: Thanks man. I really appreciate that. Thank you so much. You have a good weekend too.